Slant Magazine's Scores

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For 7,776 reviews, this publication has graded:
  • 33% higher than the average critic
  • 3% same as the average critic
  • 64% lower than the average critic
On average, this publication grades 6.3 points lower than other critics. (0-100 point scale)
Average Movie review score: 59
Highest review score: 100 Mulholland Dr.
Lowest review score: 0 Jojo Rabbit
Score distribution:
  1. Positive: 4,350 out of 7776
  2. Mixed: 1,493 out of 7776
  3. Negative: 1,933 out of 7776
7776 movie reviews
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  1. The Strange Color of Your Body's Tears
    One can never fully shake the feeling that the sense of unease the filmmakers rouse, every act of seduction, infiltration, and vengeance they orchestrate, is borrowed.
  2. Hotel Transylvania 2
    It risks offense by putting a typically Adam Sandler-ian twist on a tired familial trope, though such risks can often be the only thing enlivening forced franchise installments like this one.
  3. Hateship Loveship
    It ultimately offers little more than another opportunity for famous actors to indulge their fetishistic, inadvertently condescending impressions of "everyday" people.
  4. Refuge
    The problem with the film isn't the contrivance of its premise, it's that writer-director Jessica Goldberg doesn't know it's contrived.
  5. Words and Pictures
    At least the irony with which this transparently written and dispassionately aestheticized film so demagogically argues for the value of words and pictures is brutally convincing.
  6. Alien Abduction
    A few jolting scares are deployed throughout, but more difficult to shake is how the story's overacting lambs walk a rather programmatic path toward slaughter--or at least anal probing.
  7. Flex Is Kings
    Putting aside the generic human interest, the film turns out to be shockingly deficient in its on-screen depiction of flexing.
  8. Blood Glacier
    The film straddles a very awkward line between creature feature, conspiracy thriller, and domestic drama, all without novelty or suspense.
  9. Hank and Asha
    As the film is focused solely through the lens of the titular characters' cameras, this limits the exploration of the story's worldview outside of Hank and Asha's perspective.
  10. A Monster Calls
    A Monster Calls is both governed and straitjacketed by director J.A. Bayona’s competent impersonality.
  11. The November Man
    Roger Donaldson embellishes an already overly plotty scenario with hollowly attractive genre superfluities.
  12. That Demon Within
    It rarely feels like anything more than an effort to pander to the kind of audiences that enjoy Quentin Tarantino's films for all the wrong reasons.
  13. All Cheerleaders Die
    Frontloaded with a surprising amount of plot, the film takes forever to get going, but it's the filmmakers' hypocrisy that really grates.
  14. Deepsea Challenge 3D
    Less explored in all the ensuing back-patting is the question of whether Cameron is, in fact, sincerely interested in learning more about the world around him or whether this mission is merely intended to stroke his own ego.
  15. The Grand Seduction
    Like many films that contrast the simplicity of a rural community against the confusion of city life, The Grand Seduction exhibits a patriarchal, xenophobic attitude.
  16. V/H/S: Viral
    One need go no further than the film's first segment to grasp how little interest the latest entry in the anthology series has in generating chills from the lo-fi.
  17. Fantastic Beasts and Where to Find Them
    The film exists resolutely outside of salience and doggedly within the comfort of escapism.
  18. Good People
    It only overcomes its deficiencies and gains a modicum of entertainment value precisely when it commits to its illogical storylines and exaggerated plot twists.
  19. The Salvation
    The film achieves nothing more than hollow caricature, too caught up in dumb dress-up pageantry to accomplish anything else.
  20. The LEGO Ninjago Movie
    The film’s cumulative effect is utter exhaustion, the cinematic equivalent of chasing a toddler through a toy store.
  21. Max
    It hits its Red State beats so hard that its target audience likely won't notice they're being not only condescended to, but insulted outright.
  22. Desert Dancer
    The film's relentless turning of its characters' experience into platitudes and homilies is served for our too-easy consumption.
  23. The Liberator
    It's sense of complexity is giving us masses of people moved by Simon Bolívar's words, and gorgeous sweeping vistas of the landscape backed by a stirring orchestra.
  24. About Alex
    However self-aware the film may be, its characters and moods and conflicts are too over-determined and familiar to linger in the memory very long after the credits roll.
  25. Under the Electric Sky
    Just as queerness is conspicuous by its absence, so is any serious consideration of the drug use that often pairs with extended tastings of EDM.
  26. Honour
    Paddy Considine's benumbed ambiguity at least works against writer-director Shan Khan's reduction of honor killings to grist for the cheapest of pulpy thrills.
  27. The Tribe
    The film is more interested in performance and symbolism than in the meaning of its characters' words or their substitutive gestures.
  28. Annabelle
    It's all a far cry from James Wan's The Conjuring, which embraced the thrill of the paranormal even as it respected its frazzled, earthbound characters.
  29. The Calling
    The premise of faith-based assisted suicide as a motivating factor for a madman's killing spree is initially intriguing, but quickly revealed as solemn window dressing.
  30. Escobar: Paradise Lost
    Benicio Del Toro's performance is showy, a great actor's parade of indulgences that occasionally sets the deranged camp tone that should have been the narrative's starting point.
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